Chords for Byrne, Glass, Ginsberg on Arthur Russell 'Another Thought' EPK

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When your left foot takes your [Gm] first step, [E] a single thought takes up your _ _ whole [Bb] time.
I [F] want a thing [Em] that I _ can't be mad at, it's lacking [G] form.
It [C] takes my whole time.
[D] _ I'm on another [Bb] thought now, [A] my eyes [Bb] searching the real face [Dm] _ _ [Bb] of an angel. _
[Gbm] _ _ [A] This was a guy who could sit down with a cello and play and [D] sing with it in a way that no one
[Dbm] on this earth has ever [E] done it before and [Bm] will ever do it again.
Talking heads was just getting started.
[Abm] I had just moved [Gbm] here and at one point he did a,
he did some horn arrangements _ [Gb] for a couple of our songs and they were peculiar horn arrangements.
I had to completely reorient my thinking and I found that that [D] was often the case with [F] Arthur.
The amazing thing is he could [Em] reproduce my _ [D] monochordal
[Db] variation [Ab] on different Blake tunes that I'd [E] invented, _ note for note, playing unison with
my voice.
_ _ [F] _ _ _ _
_ _ _ [D] _ _ _ [F] I _ _ _ _ _ [C] think _ _ _ _ that Arthur was really interested in the song.
See the thing is
that we were always interested [D] in the experimental side of it.
I [Em] think Arthur was [G] interested _ in the
way he could [C] take the experimental side of it and redirect it into an idiom which he really
thought was a popular idiom.
He [E] was just driven to [G] make this sort of art _ _ _ _ dance [Ab] hit.
You know,
he figured that there could be a cross-reference [G] between dance music and downtown Soho [Gm] new [D] music.
[E] He kept saying that he wanted to write Buddhist [N] bubblegum music.
It seemed to have such a wide range of musical interests _ that at one point he would do something
that would seem _ very avant-garde or whatever you want to, word you want to use and [F] in the
next minute he would say, what I really want to do is sound like Abba.
_ _ And [D] I'd go, this seems
somewhat _ incompatible.
And yet _ _ _ after a while you would realize that he was
bringing _ strands of _ [Bm] various things together.
[C] _ _ _ _
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_ [D] _ _ _ [Gb] _ _ _
Often _ he would sing cello and vocal versions of his [G] dance songs, which was totally intriguing
because there's _ [Ab] many of his songs that exist [E] in both kind of formats.
He was also [A] interested in the _ _ words.
[D] He consulted me a lot for phrasing and [Eb] I kept [D] saying it should
be more [Am] detailed.
He was saying, no, the top [A] idiom is generalizations, but he was looking
for generalizations which had a slightly _ _ erotic or _ eccentric overtone.
He [G] would encourage me to appreciate stuff that I would just write off as being just commercial. _ _
_ _ He was, I know, very enamored of a lot of Italian pop music. _
Also really beautiful sounding,
but it's very, sometimes very commercial.
_ He heard something in there.
It is the mystery of the creative process.
It's the mysterious thing [C] _ that _ does not submit to
formula, [Db] [A] but which subverts the formula.
You know, when you take a formula like dance music [C] and then
the personality just comes shining [G] through.
_ [Ab] And that's what you heard in Arthur's music.
[Db] _ _ _ [Ebm] _ _ _ _ _
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When cataloged [G] nearly a thousand tapes, cassettes, _ [Abm] _ just there's [G] so many reels of tape [Ebm] and dats and
two-inch [Ab] masters _ that they then not only cataloged all the material, but then followed through and
put a record out.
[F] Unfortunately, his life was cut short really [G] before he could put his [B] music out.
And that's, I think that's of course part of the _ _ [Ab] devastation about so many people who are dying of
AIDS is that _ people just, you know, [Gm] won't hear about all these writers and musicians [Eb] and dancers and _ _ _ _ _
composers that are gonna, [G] _ _ or that we're not going to hear from just because _ they've
_ gotten this disease and there's no cure for it.
_ _ _ _ [C] _ _ _ _
_ [E] He always felt [F] _
that _ he could be a pop star. _ _
And that he should be one.
_ And I have to say that _ during a lot of those years, I thought it was
just an [C] Arthur idea.
When I [E] listened to the record that we actually have ended [F] up with, I think that
he was probably much more right than I was.
I think it's really somebody who was writing
music in the 70s and 80s that was very, [G] very far ahead of [C] time.
Very far ahead. _ _
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